SDTTL2011–14

FROM THE EDITORS

Diving is generally a happy-go-lucky activity; depending on where you are, it’s all sunshine and beaches, or rugged adventuring in the high seas. But this sport can also raise serious, thought provoking questions that touch on morality, environmental responsibility and even politics.

We decided it was time to face some of the most contentious subjects in the world of scuba, head on. We’re also being a bit controversial ourselves, taking liberties, mixing it up, and, for one issue, departing from our usual format to bring you excursions into the realms of ideas rather than exclusively into the realms of “place”.

One of the most divisive issues in the industry is that of baited shark dives where sharks are fed or lured in with chum. We have gathered opinions from experts and shark enthusiasts from the world, and even Pierre Cousteau has weighed in.

We shine a light on the issues surrounding diving gravesites, and consider a dive on one of Egypt’s most controversial wrecks, the Salem Express. We linger in the Middle East with a look at the beautiful seascapes of Israel’s Eilat, and speculate whether a country’s politics or policies should affect your decision to dive it.

Pushing the difficult questions even further, we find out if you really do need an SLR, and we challenge you to determine just how far it’s ok to go in pursuit of your next great shot. We get extreme with Photoshop, giving you a software tutorial that will have the purists up in arms… literally…

Making a statement about the use of Photoshop and a tutorial on a radical technique, but is this going too far?

FROM THE EDITORS

We may take for granted just how much the balance of life on Earth depends on the 23.4-degree tilt of its axis. As different parts of the planet are bathed in the sun’s light and warmth, the seasons shift, and life flourishes—currents carry warming or cooling waters around the world, and with them nutrients and new life.

Seasonal cycles of procreation in the ocean take many forms. In this issue we have tried to provide a glimpse into the gamut; from syncronised coral spawning as captured on camera by Alex Mustard (Coral: The Next Generation), to the fascinating, egg-laying fishes whose cycles follow those of the moon (Cracking the “Egg Shot”, by Alex Tyrrell), and the epic, transcontinental, seasonal migrations of the charismatic humpback whales. In Meet the Humpbacks, Shawn Heinrichs lets us in on the secret to connecting with humpbacks and creating winning photographs of these charismatic leviathans.

Nowhere, however, are the oceans’ seasonal fluctuations more evident than in the temperate seas. In A Cape for All Seasons, the team from Atlantic Edge Films takes us through an underwater year off South Africa’s Cape Point and introduces us to the dramatic and charming interactions that can be had as each season moves into the next.

From pole to pole, seasonal changes underpin all life on this planet. We hope this issue goes some way to celebrating our annual journey around the sun as a rich source of wonder and creative inspiration.

BELOW ZEROBy Aaron Wong

Taking pictures with a sheet of ice above your head presents some unusual challenges. Tips on taking the edge off when you’re shooting sub-zero

FROM THE EDITORS

It was Isaac Newton who wrote, “If I have seen further, it is by standing on the shoulders of giants.” In this issue we journey into the past, and pay tribute to some of the giants of underwater exploration and photography.

Pioneers like Hans Hass and Jacques-Yves Cousteau, among others, made the sport and the art form what they are today. They inspired and educated generations of divers and photographers, and their legacies live on, as Philippe Cousteau reveals, sharing his thoughts on bringing his grandfather’s legacy into the modern world ("Cousteau Then and Now").

In the old days, divers committed to bringing back images of the underwater world had to first imagine and then develop equipment to use. Now, just decades later, we reap the benefits of their pioneering work. We have cameras that enable us to shoot thousands of images on a single dive, sub-marine video lights that light up the reefs for hours at a time and reveal hidden ultraviolet seascapes never imagined in days gone by. In this issue’s centrepiece we showcase the photographers who launched genres of underwater photography, and contrast them with some of the figures leading the way in the same categories today ("Then & Now"). We also celebrate 40 years of the world’s best underwater images at Antibes ("40 Years of Antibes").

Many of our ocean-going legends also became dedicated advocates for the protection of our marine ecosystems as they watched the environment that captured their hearts deteriorate over the years. Venerable marine biologists reminisce about the reefs of their youth ("Reefs Then and Now"), and we share a tale of hope - the recovery of a once lost shark population under good management ("Defending the Sanctuary").

While we can never go back, we can certainly stand on the shoulders of these giants as we forge into the future, and continue to apply, in the here and now, the lessons learnt back then.

Matt Weiss, Editor (Americas)

Alice Grainger, Editor (Asia-Pacific and Australia)

Dietmar Fuchs, Editor (Europe & Africa)

CONTENTS

Photo Briefs

FROM THE FIELD

COUSTEAU THEN AND NOWBy Philippe Cousteau

Jacques-Yves Cousteau left behind a legacy of exploration and conservation, a mantle that is being passed down through the generations

TIMELINE

THE HISTORY OF UNDERWATER CAMERAS

Charting the ‘firsts’ in the development of underwater imaging equipment

PHOTO PIONEERS

DREAMS DRIVEN BY DOUBILETBy Todd Essick

How a talk by David Doubilet ignited the drive to produce one photographer’s most well-known body of work

Capturing the effect that can make an underwater image shine

GOING PRO

DOUBLE EXPOSUREBy Mark Fuller

With good planning and the right settings, your compositions are limited only by your imagination

FROM THE EDITORS

With Scuba Diver Through The Lens, we are always trying to find new subjects, destinations and techniques that will inspire our readers to try something different. That was the main goal of this “water sports” issue – to expand the horizons of scuba diving wildlife underwater photographers and show them other opportunities that exist for underwater photography in the places they love to dive.

In this issue, we explore the best places that divers can not only have a great scuba trip, but also capture the beauty of the waves with surf photographs, demonstrate how adding a kayaker to a split shot can create a totally different type of image, and learn what it’s like to photograph a diver unburdened by a tank. We’ve also got advice on how to shoot with everybody’s favourite water sports camera – the GoPro.

Our hope is that, with a little guidance from the pros we’ve featured in this issue, you’ll be more willing to try your hand at this exciting form of underwater photography. And if you’re a water sports enthusiast that picked up this issue, then welcome to the wonderful world of scuba diving!

Matt Weiss, Editor (Americas)

Ian Seldrup, Editor (Asia-Pacific and Australia)

Dietmar W. Fuchs, Editor (Europe & Africa)

CONTENTS

Photo Briefs

FROM THE FIELD

DOLPHIN DALLIANCEBy Matt Weiss & Keri Wilk

A stingray shoot in the Cayman Islands gets spiced up by a cheeky dolphin with a fondness for divers.

SUBJECT SPOTLIGHT

PEACOCK MANTIS SHRIMPBy Joseph Tepper

The multitalented colourful crustacean with super-shrimp abilities goes under the microscope

WORLD MAPS

BEST WAVES

Put your surf photography skills to the test at these cool breaks around the globe

Portfolios

GALLERY

FISH OUT OF WATERBy Various Contributors

Underwater photography takes us to amazing places to photograph amazing animals – but there’s often one animal that goes overlooked: the human

IN FOLIO

INTERVIEW WITH A PROChristian Vizl

Award-winning Mexican photographer Christian Vizl explains how he took his passion and hobby to the next level

Features

PHOTOTREKS ASIA

THAILAND’S BIG THREEBy Scott Johnson

With the luxury liveaboard Thailand Aggressor at your disposal, enjoying the crème de la crème of dive spots has never been easier

PHOTOTREKS USA

CALIFORNIA CLASSICBy Andy & Allison Sallmon

From jaw-dropping kelp forests and multicoloured reefscapes to anemone-carpeted wrecks and curious sevengill sharks, So Cal has it all

Techniques

NOVICE

UNDERWATER HEROBy Joel & Jennifer Penner

GoPro’s unique cameras are an interesting, inexpensive way to get started in underwater photography

INTERMEDIATE

PHOTOGRAPHING PELAGICSBy Rodrigo Friscione

Shooting species in the open sea comes with its own set of challenges, but the rewards can be spectacular

GOING PRO

FREE SPIRITSBy Lia Barrett

With free-divers as your underwater subjects, you have a whole ocean of creative possibilities to try out

FROM THE EDITORS

Underwater macro photography has exploded in recent years and there are those who have taken the niche to the point of obsession. Over the past decade or so, magnification levels seem to have steadily risen, as close-up lenses have increasingly become a common tool in the subsea shooter’s gear bag. Inevitably, macro nerds just keep stacking those lenses like there’s no tomorrow!

Those who don’t understand ask, “How far will this go?” The way we see it: setting boundaries is not conducive to true artistic expression. While it’s true that at a certain scale, you can’t really see what you’re going to get, the master will always approach her craft with a vision – a dream of capturing a photo of a mind-numbingly stunning animal that is no bigger than a grain of sand.

Imagine the challenge of taking a great photo of something you can barely see with your naked eye. How do you light something that small? How do you find the right angles and come away with an image that you can be proud of?

All your questions are answered in the pages that follow…

Matt Weiss, Editor (Americas)

Diego A. Garcia, Editor (Asia-Pacific and Australia)

Dietmar Fuchs, Editor (Europe & Africa)

CONTENTS

Photo Briefs

FROM THE FIELD

HAMMER HOMEBy Dr Tom Burns

On the sand with hammerhead sharks, day and night

SUBJECT SPOTLIGHT

BLUE-RINGED OCTOPUS

QUICK MAPS

MACRO WORLD

Features

PHOTOTREKS EUROPE

LEMBEH OF NORWAYBy Christian Skauge

Muck diving in chilly Gulen, on the Norwegian west coast, can be just as dazzling as the world’s greatest critter dives

PHOTOTREKS FLORIDA

UNDER THE BRIDGEBy Lazaro Ruda

A menagerie of miniatures in an unexpected backyard destination

Portfolios

GALLERY

TINY WORLDSBy Various Contributors

Super close-up images of critters from Asia, Europe and North America

COMPETITION

OUR WORLD UNDERWATER 2013

Presenting the winners of one of the world’s largest underwater photography competitions

IN FOLIO

INTERVIEW WITH A PROIndra Swari W.

A passion for the ocean’s beauty that isn’t so easily spotted

Techniques

NOVICE

COMPACTS FOR CRITTERSBy William Tan & Dexiang Chen

Convert your compact camera into a marvellous macro machine

INTERMEDIATE

SUPER MACRO TOOLKITBy Keri Wilk

Diving headfirst into the optics of super macro underwater photography to transform the miniscule

GOING PRO

SHOOTING WITH THE BUGEYEBy Amir Stern

We call it the bugeye, but its real name is almost as long as the lens itself

FROM THE EDITORS

The question about photography and its relationship to art has long been the subject of academic debate, with some placing the practice in the jurisdiction of “communications” rather than “fine art”.

For us, the answer is simple: photography becomes art when a camera finds itself in the hands of an artist. It’s what you’ll find in these pages, where photographic legend Ernest H. Brooks II shares his incredible images from his Hasselblad with a 70mm back (“Master of Monochrome”). We’ve also got three masters of light and form who continue to take our art to greater heights.

First, Arturo Telle brings us on a conceptual intergalactic journey (“Water Planets”). Then, Justin Gilligan takes his portable studio to Lembeh for intimate portraiture (“Portraits of Lembeh Strait”). And finally, Aaron Wong develops an ingenious technique to create impossible lighting (“Light Reborn”). For the time being, it looks like the art of underwater photography is alive and thriving in the hands of these ocean artists.

Matt Weiss, Editor (Americas)

Diego A. Garcia, Editor (Asia-Pacific and Australia)

Dietmar Fuchs, Editor (Europe & Africa)

CONTENTS

Photo Briefs

FROM THE FIELD

FIRE & WATERBy CJ Kale and Nick Selway

QUICK TIPS

COLOUR TEMPERATUREBy Jason Heller

Features

DESTINATION EUROPE

GREENLAND: OF ICE & SNOWBy Tobias Friedrich

A stunning set of images from a seldom-dived region of East Greenland – this is wilderness photography at its finest

DESTINATION INNER SPACE

WATER PLANETSBy Arturo Telle

Imagine entire worlds shaped by water. These are the dreamscapes of an artistic mind, delirious with sub-sea adventure

PHOTO PIONEERS

MASTER OF MONOCHROMEBy Joseph Tepper

The incomparable portfolio of Ernest H. Brooks II, in classic black and white, and shot on a Hasselblad

Portfolios

GALLERY

SCULPTED FOR THE SEABy Various Contributors

Sculpted by both hand and sea, statues become part of an ecosystem, supporting life, creating beauty and in the process inspiring photographers

IN FOLIO

IMAGINATION BREATHES DEEPMark Hillesheim

Deeply impressed by the adventures of the men aboard the Calypso, this photo-artist creates his own universe, skimming the surface of his imagination

Techniques

SHUTTERBUG

AB.STRACT ARTBy Keri Wilk

Artwork that achieves its goal using shapes, forms, colours and textures, without trying to mimic or represent recognisable reality or objects

DSLR SHOOTER

PORTRAITS OF LEMBEH STRAITBy Justin Gilligan

Bizarre creatures are intimately photographed using a portable black backdrop

GOING PRO

LIGHT REBORNBy Aaron Wong

Armed with a single light and loads of ambition, this photographer uses layering to create images with impossible lighting

FROM THE EDITORS

When underwater photographers think of scuba diving with giants, there are a few usual suspects that come to mind—like whales, sharks and manta rays.

But photography is all about trying to be different, and so should a photography magazine. That’s why, in this issue, we feature images of the lesser-photographed giants, like walruses (“Swimming with Giants”), anacondas (“Adventures with Anacondas”), and even grizzly bears (“Fishing Grizzlies”). Of course, having said that, we didn’t know what to think when we received images of swimming pigs (“Eye to Eye with Giants”)!

On a sentimental note, this is the final issue of our first year. We’ve had the pleasure of working with some of the world’s most well respected underwater photographers, as well as some of the industry’s rising stars. We’ve covered underwater fashion, cutting-edge approaches to underwater photography, and paid homage to those that push the extremes of the craft. With every new issue our contributors continue to astound us with their imaginative, fearless and tireless approaches to underwater photography. As long as there are photographers willing to push the limits, and to create totally new images, borne from new ideas, we will continue to produce a platform to share their underwater art.

Thanks to all our photographers, supporters, and readers for an incredible inaugural year. We can’t wait to see what you’ll shoot next.

Matt Weiss, Editor (Americas)

Diego A. Garcia, Editor (Asia-Pacific and Australia)

Dietmar Fuchs, Editor (Europe and Africa)

CONTENTS

Photo Briefs

FROM THE FIELD

FISHING GRIZZLIESBy Paul Souders

PHOTO FEEDBACK

OUR READERS SHOTS

SDTTL reader Kirsty Faulkner gets tips from our pros

Features

DESTINATION AMERICAS

ADVENTURES WITH ANACONDASBy Franco Banfi

Photographing the world’s largest snake in a muddy Brazilian swamp takes more than just courage. It takes knowledge, time and a creative plan to get the images you want

DESTINATION EUROPE

SWIMMING WITH GIANTSBy Paul Souders

Dedication, a drysuit and some serious guts is all that this photographer needed for an encounter that few have ever achieved... or even considered

PINNIPEDS

LEOPARDS & LIONS OF THE SEABy Various Contributors

From playful to predatory, sea lions and seals challenge photographers with their speed and unpredictability

Portfolios

GALLERY

EYE TO EYE WITH GIANTS

By Various Contributors

A collection of stunning images of encounters with big animals from around the world

IN FOLIO

TIM CALVER – ODE TO THE OCEAN

A passion for the sea and the people who love it inspires a collection of powerful, yet serene images that beckon adventurers back to the blue

Techniques

DSLR SHOOTER

SHOOTING HAWAII, BIG TIME!By Keri Wilk

A fisheye’s view of the big creatures from the Big Island

GOING PRO

EXPEDITION – CHILEBy Andy Murch

A nation with 78,000 kilometers of coastline that is largely unknown to divers, Chile demands true exploration

FROM THE EDITORS

For most people, underwater photography is inherently extreme. It is our opinion that taking a camera underwater should not be considered normal.

But there are some underwater photographers who have pushed the boundaries of the extreme, and have paid little attention to what is considered ordinary. They photograph oceanic sharks, 60-foot predatory whales, icebergs in sub-zero conditions, and even aggressive carnivorous squid.

In this issue of Scuba Diver Through The Lens, we honor the extreme photographer. They’ve captured iconic blue sharks at night (“Day & Night”), swum with tiger sharks at sunset (“Over-Under Shark Photography”) and delved into pitch-black caves in Europe (“Shot in the Dark”). Sure, any of the photographers’ work in this issue could be considered dangerous and difficult, and therefore extreme, but they’re not driven by the adrenaline or even the desire to be different—they’re fueled by a passion for their subject and for their craft.

To accomplish something truly extreme, something characterized by being the “farthest removed from the ordinary”, it needs to be something you truly love doing. As Daniel Botelho puts it (“The Extremes of Daniel Botelho”), it needs to come from the heart.

Matt Weiss, Editor (Americas)

Diego A. Garcia, Editor (Asia-Pacific and Australia)

Dietmar Fuchs, Editor (Europe and Africa)

CONTENTS

Photo Briefs

FROM THE FIELD

MAKO REFLECTIONSBy Matt Weiss

On assignment with the fastest shark in the sea

PHOTO FEEDBACK

OUR READER’S SHOTS

SDTTL reader Boogs Rosales gets tips from our pros

Features

DESTINATION EUROPE

SUB-ZERO PART 1 – SWISS ICEBy Franco Banfi

Shooting “snowbergs” and “snowcaves” in the Alps

DESTINATION ASIA

SUB-ZERO PART 2 – ASIAN ICEBy Aaron Wong

A warm-blooded photographer looks for ice in the unlikeliest of destinations

BLUE SHARKS

DAY & NIGHTBy Tobias Friedrich and Bill Fisher

Photographing blue sharks under an African sun and an American moon

Portfolios

GALLERY

THE EXTREMES OF DANIEL BOTELHO

A look at the diverse portfolio of images from a Brazilian photographer with a taste for extreme subjects

GOING PRO

OVER-UNDER SHARK PHOTOGRAPHYBy Andy Murch

Shooting the air-water interface gets even more extreme when your subjects are sharks at sunset

FROM THE EDITORS

There’s a sentiment out there in the photographic world that the digital revolution has simplified things. Just get yourself the latest Nikon 800 or Canon 5D MkIII with a fancy housing, and all the different features of these state-of-the-art instruments will have you shooting cutting edge imagery in no time. But photographic equipment is no different than any tool – harnessing its power takes more than simply owning one.

In the hands of renowned photographers, who think first and shoot afterwards, fancy equipment does help to produce their innovative ideas – but it’s the inspiration that commands the equipment. Just have a look at the work of Tobias Friedrich (“360˚: The Cutting Edge”), Keri Wilk (“How to Shoot with a Snoot”) and Imran Ahmad (“Lighting the Surreal”) – three photographers who continue to push the boundaries of what we consider “cutting edge” underwater photography.

Even if you go back 20 years, you‘ll find photographers like Peter Alexander Reiserer, who used cutting edge ideas to produce pictures that are still compelling and avant-garde today (“Ahead of His Time”). And although his lighting was, admittedly, pretty advanced for the day, Reiserer still produced timeless images without the help of today’s digital paraphernalia.

So it’s not about the number of pixels, nor the sheer number of picture programs or filters that you use – it’s still your cutting edge ideas and knowledge of photography that will help your images stand the test of time.

Matt Weiss, Editor (Americas)

Diego A. Garcia, Editor (Asia-Pacific and Australia)

Dietmar Fuchs, Editor (Europe and Africa)

CONTENTS

Features

DESTINATION AMERICAS

WHEN PENGUINS FLY...By Joseph Tepper

Of all the amazing animals one can photograph in the Galapagos Islands, one soars above the rest

DESTINATION ASIA

SHOOTING BIG IN THE LAND OF SMALLBy Andy Sallmon and Allison Vitsky Sallmon

An intrepid photo-duo take their wide-angle lenses to a macro heaven

Portfolios

GALLERY

STATE OF THE ART

By Various Contributors

Taking stock of the latest techniques and technologies in underwater photography today

PHOTO PIONEER

AHEAD OF HIS TIMEBy Javier Pierro Ruis and Alain Sebastian Wienkoop

Peter A. Reiserer was one of the first underwater photographers to bring commercial studio ideas underwater

COMPETITION

UNDERWATER COMPETITION 2012

Winning images from DEEP Indonesia

Techniques

SHUTTERBUG

LIGHTING THE SURREALBy Imran Ahmad

Mixing film and classic photo techniques for a new look in underwater images

DSLR SHOOTER

HOW TO SHOOT WITH A SNOOTBy Keri Wilk

Take control of your lighting techniques with this illuminating device

GOING PRO

360°: THE CUTTING EDGEBy Tobias Friedrich

Panoramic images take on a new meaning with digital technology

FROM THE EDITORS

Photography, like all art, is about making something that is truly unique. Whether that means achieving technical perfection, using cutting edge technology, or traveling to places that are nearly impossible to reach, for photographers to make art, the goal is to take a photo no one else can take. Take a look at the images of photographers like Mallory Morrison, Zena Holloway, and Elena Kalis, who use water as a medium that helps them achieve their concepts for their commercial, fashion or personal projects. Other underwater photographers travel to exotic destinations like the Red Sea, Komodo and Port Hardy, because they are the prime habitat for photographing the wonderfully unique colors of the ocean. Regardless of how a photographer may treat water — be it as a habitat, medium, or muse — make no mistake that underwater photography is art and it is beautiful.

Matt Weiss, Editor (Americas)

Don’t recognise your copy of Scuba Diver magazine? We wanted to do something completely different for this beauty-inspired issue, the first time in our history that we’ve released a horizontal cover. Many of you may be unaware, but Scuba Diver was first printed in 1981 under the title The Scuba Diver.

Since then, the magazine evolved and changed, becoming Scuba Diver AustralAsia, and of course, just last year, we added the unique photography title Scuba Diver Through The Lens, which you’re holding in your hands right now! As you flip through these pages keep this history in mind as you appreciate the legacy of photographic and journalistic excellence that has brought us to this remarkable collection of images and stories from around the world.

Diego A. Garcia, Editor (Asia-Pacific and Australia)

Each new year is heralded by great diving expos around the world, but the coming ADEX 2012 in Singapore is my favourite. And it’s the first time that each of us three editors will be present, on our never-ending quest for the best pictures done under water. Taking pictures can be documentary – that’s what most of us do, getting our fellow divers and our deep sea adventures framed. But some of us want more: We express our creativity in underwater scenes of pure art and beauty. In this issue we put three of the finest “Art” photographers together to prove to all of us, that the underwater realm offers the creative photographer much more than a real world – it offers magic! Enjoy the new Scuba Diver Through The Lens.

Dietmar Fuchs, Editor (Europe and Africa)

CONTENTS

Features

ASSIGNMENT

SHOOTING REDBy Udo Kefrig and Rose Jones

How to photograph long-wavelength colours

DESTINATION ASIA

WHERE MYTH BECOMES REALITYBy Joseph Tepper

Indonesia’s Komodo Island may appear mythical, but it’s as real as it gets

DESTINATION AMERICAS

PORT HARDYBy Todd Mintz and Rand McMeins

Canada’s west coast province of British Columbia is truly “Supernatural”

Portfolios

PROS AT WORK

THE FAIRY QUEEN ZENA

Photo taleteller Zena Holloway brings us into her own personal fantasy world

ELENA'S WONDERLAND

Elena Kalis reminds us of the innocence of childhood and the wonder of Alice

MAGIC OF MALLORY

Mallory Morrison has made a career out of making people look natural underwater

COMPETITION

OUR WORLD UNDERWATER 2012

Winning images from the one of the world’s largest competitions

Techniques

SHUTTERBUG

NUDIES IN NORWAYBy Christian Skauge

If you can stop your hands from shivering, Norway’s nudibranchs make stunning macro photos

DSLR SHOOTER

MODEL PHOTOGRAPHYBy Wolfgang Pölzer

How to work with divers for best results in your wide-angle images

GOING PRO

FASHION H.2.O.By Aaron Wong

Secrets of the professional underwater fashion shoot

FROM THE EDITORS

When my good friend John Thet – the respected publisher of Scuba Diver AustralAsia, Asian Diver and Asian Geographic magazines – approached me about collaborating on a global underwater photography print magazine, I was hesitant. As the editor and publisher of DivePhotoGuide.com, a leading underwater photography media company, I never expected to enter the print world, and John’s idea to have three international editors, working in three different time zones, sounded like a logistical nightmare. The idea was crazy enough for me to try, so I hopped on board.

Matt Weiss, Editor (Americas)

Welcome to our inaugural edition! For me personally, this magazine is part of a journey that began 15 years ago, when I first went from a newbie, to an open water diver, to a divemaster in three months.

Three hundred dives later, I was hired by a tv crew and whirled away on a 10-episode underwater adventure show. And it was during those years when I first had a video camera thrust into my hands, and came to love it. From video, to slide film, to digital hybrids, writing about my adventures all the while, I soon found myself editor of Scuba Diver AustralAsia magazine.

Diego A. Garcia, Editor (Asia-Pacific and Australia)

I have seen my share in underwater photography over the last 25 years as editor in chief of Aquanaut (1988-1993) and Unterwasser (1994-2011). Those who know me, know that I‘m much more of an editor than a photographer, so my aim is not so much the improvement of image quality, but to improve the image of our guild’s work as a whole. When I founded Edition Fifty Fathoms with the help of underwater photographer Marc A. Hayek, CEO of Blancpain, we created an art collection from elite underwater photographers from all over the world. Our goal was to push underwater photography to the zenith of all photography – a place where it belongs given that it’s among the most difficult (and sometimes most dangerous) forms of photography.

Dietmar Fuchs, Editor (Europe and Africa)

CONTENTS

Features

DESTINATION EUROPE

SWEET WATER OF THE ALPSBy Harald Hois & Gerald Kapfer

Shooting the crystal clear waters of Europe’s iconic mountains

CROCODILES

PHOTO-HUNTING THE BEASTSBy Various Contributors

Intriguing tales and killer shots from those who dare to swim with crocs!

DESTINATION AMERICAS

SEEING THE LIGHTBy Matt Weiss

Sunrays take centre frame in the ancient sinkholes of Mayan worship

Techniques

SHUTTERBUG

GOOD THINGS, SMALL PACKAGESBy William Tan

Just bought your first underwater cam? Compact cameras can produce stunning macro results, if you know how to use them

VIDEOLOGY

MAKING THE SWITCHBy Steve De Neef

From stills to motion pictures – What you need to know to start shooting HD video on your DSLR

DSLR SHOOTER

SO CLOSE, YET SO FARBy Alex mustard

The wide-angle close-up shot may seem perplexing, but is easier than you think